The Infernal Vision of Sibylle Ruppert



Sibylle-Ruppert_Decadence 1976 Sibylle-Ruppert-Decadence 1976

Quite recently I was researching H.R Giger’s illustrations for De Sade’s Justine when I stumbled across the work of the German artist Sibylle Ruppert. I immediately wondered how I had never heard of her before as I take some pride in being well versed in Surrealistic/Fantastic/Dark Art and here was an exceptional example of the genre, that furthermore took its cues from the masters of transgressive literature: De Sade (of course), Lautreamont and Bataille, all of whom I have written about.

One can only wonder at the vagaries of recognition. Although she did have some influential admirers, namely Alain Robbe-Grillet, Henri Michaux and especially Giger, who owned a large collection of her work (the only major retrospective to date was at the H.R Giger Musuem), the critical and commercial success that other Fantastic artists of the period enjoyed eluded her. Instead she worked quietly away at producing…

View original post 256 more words

Interview with Author Luciana Cavallaro!




9BBF0729-8E7B-46D5-BF12-BC44C04B0307Luciana Cavallaro

Please help me welcome author Luciana Cavallaro to Segment of Interview an Author. 

Thank you again, Janice, for the generous opportunity to be interviewed and for being on your blog.
It’s my pleasure, Luciana. The stage is all yours.
  1. Please tell us something about yourself.

Hi, my name is Luciana Cavallaro, and I am a first-generation Australian Italian. My parents migrated to Australian when they were both children in the 1950’s with their mothers. My grandfathers had immigrated years earlier to establish a home base in Western Australia.

I grew up in a country town, approximately one and half hours drive south of our capital city, Perth. I was the first in my family to go to university and studied to become a High School teacher. I live and teach full-time in Perth.

jjspina: I’ve always wanted to visit Australia. I have…

View original post 1,106 more words

Married to a Genius


How hard it is to master it 🙂🤟❤

A Russian Affair

The married lives of Anna Dostoevskaya and Sophia Tolstoya

The ladies Dostoevskaya and Tolstaya were most probably too young and inexperienced to judge correctly what they were in for at the moment they said “yes” to to their husbands. Both Dostoevsky and Tolstoy were already successful and celebrated writers, and in spite of the considerable age differences, all parties involved were in love. Both ladies kept diaries during their marriages, so that we have a clear picture of what they had to endure from their husbands.

Anna Snitkina

Anna Snitkina was twenty years old when she started work as a stenographer for the forty four year old Dostoevsky. He had made a deal with a publisher on terrible conditions and with an impossible deadline in order to pay off his gambling debts. A friend had suggested that he should hire a stenographer, so that the writing would proceed faster. With…

View original post 801 more words




de3b9c9e1f87c0460478fca90228ba58[1] Yva Else Ernestine Neulander-Simon, known simply by her professional pseudonym, Yva, was a pioneering female photographer of the Weimar Republic. She set up her first studio in 1925 and briefly collaborated with the experimental photographer Heinz Hajek-Halke (see Dreams of Desire 54 (Written on the Body)before a copyright dispute led them to part ways. Initially focused on nude, portrait and fashion photography, Yva was one of the first photographers to fully realise the commercial application of the field to advertising. Her Berlin atelier was one of the most successful of its days and employed 10 assistants by the time Hitler came to power.

Yva and her husband Alfred Simon, who managed the financial affair of the studio, were bothJewishand considered for some time whether to emigrate from Germany, especially when she was forced to ‘Aryanize’ the business in 1936 (a law had come into effect that forbade Jews from…

View original post 164 more words

Chambre Close



Bettina-Rheims-Chambre-Close-4th July 1991 Paris Bettina-Rheims-Chambre-Close-4th July 1991 Paris

Chambre Close is the collaboration between the writer Serge Bramly and the photographer Bettina Rheims. The elegant and cultured tone of the confessions of Mister X, an amateur photographer and voyeur who lures models back to shabby hotel rooms to engage in acts of ‘visual adultery’ is contrasted against the clinical detachment and raw intimacy of Rheims colour images.

Rheims is justly renowned for her studies of female nudes. As she herself notes, “I love flesh. I am a photographer of the skin.”

View original post

Acid Cats



Louis-Wain-Cat Design Louis Wain-Cat Design

Although Louis Wain’s psychedelic and abstract cat designs that he created during the last fifteen years of his life, while confined in a  psychiatric institution, show many of the hallmarks that characterise Art Brut, namely elaborate detailing, obsessive symmetry and the horror vacui (fear of empty space); he was formally trained and was for a number of years one of the foremost commercial artists of Edwardian England, illustrating over a hundred books and releasing a highly successful annual of cats for over a decade.

Cats were Wain’s main subject throughout his career, from the naturalistic early studies through the large-eyed anthropomorphic cats strolling around on two legs playing golf and smoking cigars at the height of his success, to the brilliant ceramic Futurist cats before the final period of hallucinated decorative splendour.

The affectation and centrality that cats held for Wain was born out of a…

View original post 283 more words



I might repeat myself but as I know not be so famous enough,  mention it again: I am not religious, but I pray when I get in an unwilling or feeling some uneasy situation. But pray to what? a good question; I just pray to a great ghost, the whole, sometimes call my brother, who was all in my life with me…anyway, it seems that Dr, Jung was also in this meaning. an interesting issue  



As if nothing, in his most controversial book-at least of those published in life-C. G. Jung leaves a footnote:

Prayer, for example, reinforces the potential of the unconscious, thus explaining the sometimes unexpected power of prayer.

The prayer -or prayer or prayer-, Jung tells us, makes us enter into a relationship and dynamic tension with the unconscious. This is very important, but it is necessary to explain it. Jung considers that the unconscious is the source of instincts, images and even not only individual but also collective purposes, it is “the spiritual treasure of humanity”, a great ocean in which the whole history of humanity and possibly the cosmos is recorded. A fund that also seems to have an intention or purpose, which is to unify the psyche, integrate the opposites, make the human being complete, something that is equivalent to what in the Christian tradition is called theosis – the divinization of man – and in the Hinduism is the realization of the Atman. Jung, however, does not affirm that man becomes a god through the manifestation of his unconscious, but that the unconscious in his becoming conscious produces images similar to those that have been generated in the great religions and that this process is accompanied by a numinous effect, or of a sensation of finding meaning in life.

Carl Jung

Throughout his, work Jung argues that the unconscious is something like a divine monster, wonderful and terrible that responds to our attention and interest. Praying is a way of paying attention to this fund of mysterious energy and intelligence that is part of us – the biggest part of who we are, “the majority partner” -. The same can happen, for example, when we really make an effort to remember our dreams: something is shaken in the deep and begins to symbolize (the unconscious communicates through symbols or images that communicate something ineffable and transcendent). To pray is in a certain way to pray to ourselves, but in ourselves, there is an unknown and autonomous force, which can impose itself on our will and give meaning to our life. A force at once chthonic, celestial, titanic and demonic. The human being only finds true meaning when he feels part of something bigger than his ego.

In a letter to a patient, Jung wrote: “I have thought a lot about the prayer, it – the prayer – is very necessary, since it makes the transcendent in what we think and conjecture become an immediate reality and places us in the duality of the ego and the dark Other “. The unconscious is, at least while it has not become conscious, the transcendent, a transcendent aspect of existence, at once intimate and elusive. This dialogue opens us to the possibility of experiencing that we are not merely an ego; There is something else, an Other. In the dialogue with the unconscious, which is the dialogue with the transcendent, says Jung, the door is opened to “a whole sphere of knowledge and experience through which all the functions, all the ideas, manage to enter to the side of our ordinary conscience. ” How to open the vault of the treasures of the world of archetypes. Thus, praying can be a way of practising what Jung called the active imagination or the transcendent function, which is a way to open the way to the content that springs from the unconscious and its deep source of archetypes. In a certain way, prayer is to the religious awakening life what dreams are to the psychic life, a space in which the inner life can be revealed, what lies hidden in our psyche and that can produce a numinous experience, a meeting with the radical otherness that Rudolf Otto talks about.

“The unconscious wants to flow towards the consciousness to reach the light,” says Jung in Response to Job; “God wants to become a man, but not at all.” There is a strong tension here, something that hinders the repetition of the eternal myth that, in some way, is always occurring in the background: the incarnation of the Logos, the light that illuminates the darkness, which must finally be understood.